Promiscuity
|Wikipedia:/en/Promiscuity> :Promiscuity is the practice of having sex frequently with different partners or being indiscriminate in the choice of sexual partners. The term can carry a moral judgment if the social ideal for sexual activity the locally-dominant culture is monogamous relationships." ''"Promiscuous Protagonism" |NYTimes:/Lili Loofbourow (2015)/TV’s New Girls’ Club> ('CW: "The Sopranos" Spoilers (mild), "Breaking Bad" Spoilers (mild), vague spoilers for: "Getting On", "Transparent" and "Orange Is the New Black") :"Something stranger, less programmatically grim, is now making its way onto TV. Shows like “Transparent,” “Getting On” and “Doll & Em” are for the most part created by women and center on female characters. They’re defying what has come to seem like a glib bleakness in highbrow programming. If “The Sopranos” started the age of the antiheroes, these shows mark the dawn of promiscuous protagonism: a style of television that, rather than relying on the perspective of one (usually twisted) character, adopts a wild, roving narrative sympathy. :First, it’s worth scrutinizing the third golden age’s claims to novelty. Take the clashes between high and low culture on great TV (psychoanalysis and the mafia, chemistry and meth). Thrilling, to be sure, and new to American television, but as a strategy it’s not particularly novel. (Shakespeare did it.) Nor is the “gritty realism” for which this genre is praised remotely realistic. (Gus Fring is magic.) The charismatic antihero, too, is yesterday’s news; Tony, Walter, Don, Rust and McNulty are a tribe of Miltonic Satans seducing us with their fallen charm. The shows of TV’s third golden age pose the same question we’ve been asking for centuries: How does the world warp these men? :Shows like “Orange Is the New Black,” “Doll & Em,” “Getting On” and “Transparent,” on the other hand, distribute suspense quite differently. Ostensibly about a women’s prison or friendship disfigured by Hollywood or a geriatric ward or a trans woman transitioning late in life, these stories almost immediately defy their synopses. The spotlight is shared among characters in a way that avoids heroes, antiheroes or other familiar devices for generating dramatic crisis. ... Subjects that prestige shows have usually treated fatalistically — disintegrating social structures, the loss of family, broken bonds — are shown as occasions for resilience rather than resignation. :If most of the shows of the third golden age were run by men and dealt with tragic masculinity, shows defined by promiscuous protagonism are largely run by women and treat gender as a curiosity rather than a constraint." :... :"The characters in these new shows are no less prone to self-pity than Tony or Walt, but the camera’s roving inattention undercuts rather than dramatizes moments that in the older style would invite us to be moved or to selectively analyze (and exculpate) the protagonist at the expense of everyone else. That egalitarian affect is promiscuous protagonism’s angle on the story of American decline. Everyone, regardless of race, class, gender or sexual orientation, is on this sinking ship together. We’re just sinking at different rates." :... :"Promiscuous protagonism shrugs off not just clichéd female roles, but also the entire moral vocabulary on which dramas are usually built. The camera slides from one perspective to the next, which can be weird and destabilizing. Few things are more grittily real than people adapting to constraints that seem antithetical to joy ... These new shows demonstrate that there’s art to be had in the work of coping, whether with prison, bedpans, stardom or friendship, and of seeing ... “how fragile and flexible a relationship can be.” Above all, promiscuous protagonism is interested in truths that are collectively produced. Its greatness stems not from a single show runner’s bleak and brilliant outlook but from a collaborative vision of art that admits a spectrum of shades. The central question driving this movement forward is no longer “How did these mad men come to be?” but rather “How did these women get so good at staying sane?”" |TheWeek:/Loofbourow (2017)/The nourishing radicalism of Crazy Ex-Girlfriend and Jane the Virgin> Game of Thrones Most popular TV series of the 2010's the so-called "new Golden Age" of TV. *'''GOT SPoilers Season 1 S1 ending Noted for its multiplicity of protagonists after its first season in which the show kills its previously-presumed protagonist 'Ned Stark'. Based on A Song of Ice and Fire by George R.R. Martin, a series of novels in the first-person but told through a 'promiscuous narrative lens' in which many characters host the first-person perspective for separate chapters, sometimes across separate continents. Allowing a geo-political plot that has no 'moral centre', only a range of roving moral allegiances which are at times broken and at times reforged through external circumstance. This style of narrative could be deemed a form of "Moral Promiscuity" in which the reader is expected to empathise with both heroes and villains, nobles and savages. ---- np = 2207 [[Lp11|11] (last 1 was Prison Abolition Movement , last Lp2 was 2198रानी लक्ष्मीबाई (Rani Lakshmibai), last 11 was 2180Thomas Sankara, next Lp11 is 2216Transmittance then 2225, 2234...) :2207 = 2207 * 1 (prime, cousin prime of 2203 and a sexy prime due to 2213?) :100010011111 in binary 42378 in octal 89F16 in hexadecimal :2207 = 2209 - 2 = 47^2 - 2 Category:Sexuality Category:Attraction Category:Sex Category:Romance Category:Dating Category:Reproduction